Poesia e pensamento em Manoel de Barros
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Data
2017-01-10
Autores
Santos, Suzel Domini dos [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Manoel de Barros, poeta que estreou na literatura brasileira na década de 1930, tem na imagem poética e na metalinguagem os principais pontos de força de sua poesia. Mais que isso, ressaltamos que existe em sua obra uma imbricação tensional entre os espaços imagético e metalinguístico, uma vez que o poeta funde estes espaços de linguagem, fazendo do poema uma espécie de suporte para a crítica na medida em que injeta nas malhas do discurso poético seu pensamento crítico. Observamos, também, que a repetição excessiva e combinada de alguns procedimentos de elaboração poética gera uma macroestrutura que caracteriza a linguagem construída pelo poeta, sendo que consideramos a fusão dos espaços figurativo e metapoético como procedimento predominante desta estrutura. Nesse sentido, propomos um estudo que se concentra nas funções e efeitos, gerados pela repetição, que singularizam a poesia de Barros. Tal estudo visa, ainda, sistematizar uma Poética, uma vez que a linguagem acaba por configurar-se enquanto código palimpséstico marcado pela convivência das atividades crítica e criativa, bem como pela repetição de ideias pontuais acerca do poético. Para tanto, partimos da investigação detida de uma seleção de poemas da obra toda do autor, e estabelecemos um amplo diálogo com fundamentos da modernidade lírica.
Manoel de Barros, poet who debuted on Brazilian literature in 1930, has in the poetic image and in metalanguage the main strength points of his poetry. More than that, we emphasize that there is in his work a tensional interlink between the image and the metalinguistic spaces, once the poet merges these language spaces, making the poem some sort of support for the criticism to the extent that he injects in the poetic discourse his critical thought. We notice, also, that the excessive and combined repetition of some poetic elaboration procedures creates a macrostructure that characterizes the language built by the poet, as we consider the fusion of figurative and metapoetic spaces as a predominant procedure of such structure. To this end, we propose a study that focuses on the functions and effects, generated by the repetition, that singles out the poetry of Barros. Such study aims, still, to systematize a Poetics, once the language turns out to be configured as a palimpsestic code, marked by the coexistence of the critical and creative activities, as well as by the repetition of punctual ideas about the poetic. To do such, we start from a thorough investigation of a selection of poems from the complete works of the author, and establish a broad dialogue with the fundamentals of the lyric modernity.
Manoel de Barros, poet who debuted on Brazilian literature in 1930, has in the poetic image and in metalanguage the main strength points of his poetry. More than that, we emphasize that there is in his work a tensional interlink between the image and the metalinguistic spaces, once the poet merges these language spaces, making the poem some sort of support for the criticism to the extent that he injects in the poetic discourse his critical thought. We notice, also, that the excessive and combined repetition of some poetic elaboration procedures creates a macrostructure that characterizes the language built by the poet, as we consider the fusion of figurative and metapoetic spaces as a predominant procedure of such structure. To this end, we propose a study that focuses on the functions and effects, generated by the repetition, that singles out the poetry of Barros. Such study aims, still, to systematize a Poetics, once the language turns out to be configured as a palimpsestic code, marked by the coexistence of the critical and creative activities, as well as by the repetition of punctual ideas about the poetic. To do such, we start from a thorough investigation of a selection of poems from the complete works of the author, and establish a broad dialogue with the fundamentals of the lyric modernity.
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Palavras-chave
Manoel de Barros, Metalinguagem, Imagem poética, Repetição, Modernidade lírica, Metalanguage, Poetic image, Repetition, Lyric modernity